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The world heard: Sound, film theory ...

Liang, Dong.

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The world heard: Sound, film theory and the cinematic experience.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The world heard: Sound, film theory and the cinematic experience./
Author:	Liang, Dong.
Description:	260 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
Contained By:	Dissertation Abstracts International77-02A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3724500
ISBN:	9781339080116

The world heard: Sound, film theory and the cinematic experience.
Liang, Dong.

The world heard: Sound, film theory and the cinematic experience. - 260 p.

Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.

Thesis (Ph.D.)--The University of Chicago, 2015.

The World Heard seeks to offer a significant reorientation of how we theorize film sound and how we construct the history of film sound. It does this by proposing a theory of film sound centered around the notion of filmic world and by developing a conceptual framework that theorizes how the filmic world is heard. I focus on three prominent ways of auditory encountering in the cinema: audiovisual diegesis, embodying space, and perceived authenticity. Being primarily defined as theoretical lenses, these three topics also act as historical trajectories of film sound where the issues of mode of perception, technological implementation and stylistic evolution are closely intertwined.

ISBN: 9781339080116Subjects--Topical Terms:

2122736
Film studies.

The world heard: Sound, film theory and the cinematic experience.
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100 1 $a Liang, Dong. $3 3187173
245 1 4 $a The world heard: Sound, film theory and the cinematic experience.
300 $a 260 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
500 $a Adviser: TOM GUNNING.
502 $a Thesis (Ph.D.)--The University of Chicago, 2015.
520 $a The World Heard seeks to offer a significant reorientation of how we theorize film sound and how we construct the history of film sound. It does this by proposing a theory of film sound centered around the notion of filmic world and by developing a conceptual framework that theorizes how the filmic world is heard. I focus on three prominent ways of auditory encountering in the cinema: audiovisual diegesis, embodying space, and perceived authenticity. Being primarily defined as theoretical lenses, these three topics also act as historical trajectories of film sound where the issues of mode of perception, technological implementation and stylistic evolution are closely intertwined.
590 $a School code: 0330.
650 4 $a Film studies. $3 2122736
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710 2 $a The University of Chicago. $b Cinema and Media Studies. $3 1677490
773 0 $t Dissertation Abstracts International $g 77-02A(E).
790 $a 0330
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3724500